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A Lost Classic From The 1990s That Includes Jeff Tweedy Of Wilco, Dan Murphy Of Soul Asylum & Gary Louris Of The Jayhawks

Golden Smog is a Minneapolis-based, loosely connected inter-changeable group of musicians from notable bands comprising members of Wilco, Soul Asylum, The Replacements, The Jayhawks, Run Westy Run, Big Star and the Honeydogs. Since their inception in 1989, many members have come and gone, with the following musicians having appeared on all recordings: Kraig Johnson (Run Westy Run), Dan Murphy (Soul Asylum), Gary Louris (Jayhawks) and bassist Marc Perlman (Jayhawks). The group originally played in and around Minneapolis doing mainly cover song sets as a country-rock reaction to the punk and hardcore music that dominated the region. In 1995 they released their debut album, "Down By the Old Mainstream," recorded at Pachyderm Recording Studio that was made up of mainly original material with a few covers. Drummer Chris Mars of the Replacements was gone by now and the line-up consisted of Johnson, Murphy, Louris, Perlman and two new members: Jeff Tweedy of Wilco and Honeydogs drummer Noah Levy. All members were credited under pseudonyms to avoid contractual issues with their other record companies.

Professor Bizarre's Funknology

This Brand New Collection Will Include An LP Of The Best Atco Tracks And An Additional LP Of Unreleased Demos Recorded By Dr. John Between The Years 1968-1974, All Previously Unavailable On Any Format

Taken From The Highest Quality Sources, This Album Will Have Lacquers Cut At Sam Phillips Recording Studio In Memphis

This Deluxe ROG Edition Will Be Pressed On 180g Black Vinyl At Record Industry In The Netherlands And Come In A Gatefold Tip-On Stoughton Sleeve

Each 2lp Set Will Be Individually Numbered And Strictly Limited

Born in New Orleans in 1940 as Malcom John Rebennack, he eventually took the stage name of Dr. John and went on to become a legendary songwriter, pianist and guitarist whose iconic music combines blues, jazz, boogie woogie, Cajun and rock n' roll influences. At an early age he was exposed to burgeoning rock artists such as Little Richard, Guitar Slim, James Booker, Earl King and Professor Longhair, all who played a big influence on Dr. John's developing style. In 1965 he moved to Los Angeles where he became a "first call" session musician in the LA studio scene in the 1960s and 70s and was part of the "Wrecking Crew" stable of studio musicians. He backed up Sonny & Cher, Canned Heat, Frank Zappa and the Mothers of Invention and many others. By the mid-1960s, Rebennack's fascination and preoccupation with New Orleans voodoo culture helped to influence and develop the idea for what would become the Dr. John persona which would define him for the rest of his career.

By 1968 he started to gain fame as a solo-artist using the persona of Dr. John the Night Tripper and featuring elaborate costumes and stage shows influenced by Screamin' Jay Hawkins act. Gris-Gris was Dr. John's debut album for Atco Records and is ranked #143rd on Rolling Stone's 500 Greatest Albums of All Time list. He recorded three more albums for Atco: Babylon (1969), Remedies (1970) and The Sun, Moon and Herbs (1971) that all followed suit with voodoo influences and New Orleans traditional music. By 1971, Dr. John had gained a notable cult following that included artists such as Eric Clapton and Mick Jagger, both of whom took part in the Sun, Moon and Herbs sessions. He is best known for his recordings done between the years 1972-1974 and Dr. John's Gumbo cut in 1972 is considered a cornerstone of New Orleans music. The single from the album, "Iko, Iko" broke into the Billboard Hot 100 chart reaching #71. The album was ranked 404 on Rolling Stone's 500 Greatest Albums of All Time List. In 1973, produced by Allen Toussaint and backed by the Meters, Dr. John released the seminal New Orleans funk album, In The Right Place. Rooted in solid R&B it reached #24 on the Billboard album chart anchored by the hit single, "Right Place Wrong Time" that peaked at #9 on the Billboard Hot 100 Singles chart and has gone on to become a heavily played staple on classic rock radio to this day. Dr. John has recorded more than 20 albums and is the winner of six Grammy® Awards. He was inducted into the Rock and Roll Hall of Fame in 2011 and continues to tour and record to this day.

Take Refuge In Clean Living

Remastered For Vinyl From Original Recordings

Opening with a nod to Syd Barret's Pink Floyd (Piper at the Gates of Dawn) Take Refuge In Clean Living begins with morse code and drops into one of the heaviest slow-burn grooves in the Grails canon. Sounding something like Hawkwind and Ravi Shankar scoring Blade Runner, it's lysergic and earthy for Grails in a new way. The rest of the record moves from blissful Eno-inspired ambience, to epic Morricone rock hymns, to an unexpected take on a Ventures tune that returns the listener to the very beginnings of instrumental rock music. The touring incarnation of Grails in 2006 and 2007 included good friend and drummer Ben Nugent, allowing Emil Amos to switch to 3rd guitar for the band's live instrumentation. The DNA of this guitar-heavy line-up allowed for new kinds of arrangements and bigger melodies. In early 2007, the then-5-piece entered Steven Lobdell's (Faust) Audible Alchemy studio to document the new songs written with this augmented ensemble. Those sessions make up Take Refuge In Clean Living.

Remastered for vinyl and reissued for the first time in nearly a decade, Take Refuge In Clean Living sees Grails pulling back their already wide lens on multiple sonic horizons. Grails often take what would sound over-ambitious on paper and make it sonically flow in an effortless, laid-back style. The band is defined by exploration and they've created a template for themselves where any style or method can be ingested to reap legitimate rewards. Take Refuge In Clean Living rightly suggested that Grails wouldn't run out of ideas.

1. Stoned at the Taj Again2. PTSD3. 11th Hour4. Take Refuge5. Clean Living

Run-DMC

Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It's no exaggeration to say that the groupchanged the course of music in the '80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic.

Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Runwas, at one time, a DJ known as "Son of Kurtis Blow") and Blow's bassist and burgeoning super-producer Larry Smith, the trio - Joseph"Run" Simmons, Darryl "DMC" McDaniels and Jason "Jam Master Jay" Mizell - learned from the best, but created their own path.

1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, "Sucker M.C.s (Krush-Groove1)" was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkersand music aficionados around the world by storm. The song's lyrics are a mandatory memorization assignment to this day by MCs learningtheir craft. "Two years ago, a friend of mine "

The group's sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith'suse of live musicians who laid down grooves but didn't soften the edges. Lyrically the group wasn't just about brags either, with songs like"Hard Times," "It's Like That" and "Wake Up" (the first two were singles). Run's and DMC's overlapping tag-team approach to lyricism waspowerful and immensely influential.

"Rock Box," another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their firstworldwide smash, 1985's "King Of Rock." Jam Master Jay's DJ work was stellar, knowing exactly when to jump in and put listeners' ears ina headlock.

The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started - their next two LPs wouldtake them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it's a classic that still soundsfresh today as it did more than 30 years ago.

Goin' Away

Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3.

Sam "Lightnin'" Hopkins, a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas, was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more "authentic" results. Either way, Lightnin' seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.

Better Call Saul is a television crime drama series created by Vince Gilligan and Peter Gould. It is a spin-off prequel of Gilligan's prior series Breaking Bad. Set in 2002, Better Call Saul follows the story of small-time lawyer Jimmy McGill, a lawyer and a former scam artist, who becomes involved with the criminal world, six years before his appearance on Breaking Bad as Saul Goodman.

Like its predecessor, Better Call Saul has received critical acclaim. It has garnered several nominations, including fourteen Primetime Emmy Awards, seven Writers Guild of America Awards, five Critics' Choice Television Awards, a Screen Actors Guild Award and two Golden Globe Awards. The series premiere held the record for the highest-rated scripted series premiere in basic cable history at the time of its airing.

Dave Porter, the composer of the score, has also written the opening theme and complete score of Breaking Bad. For his work on Breaking Bad, Porter has won an ASCAP Award. The Better Call Saul score features songs from the first and second series.

Strictly limited, the first 1,000 numbered copies of the Better Call Saul score are pressed on red vinyl. The package contains 2 printed inner sleeves with images of Jimmy, Nacho, and Mike. It also contains an exclusive 4-page booklet with additional pictures and liner notes. The etch on the D-side is a certified replica of Jimmy McGill's law degree he received from the University of American Samoa.

In the early seventies, Nile Rodgers and Bernard Edwards were playing in rock and soul bands across New York City and the east coast, meeting up with Tony Thompson along the way and forming the rudiments of what would become one of the most powerful and successful pop/r&b units ever known as Chic.

By 1977, they sailed into the top rungs of the charts with their smash debut single Dance, Dance, Dance along with the killer funk of their first album simply titled Chic.

A year later, their fortunes multiplied to the top of the charts with C'est Chic. The number one LP was chock full of hit singles, funk madness and probably some of the finest rock/funk/soul beats ever waxed in a studio. Featuring the huge chart toppers Le Freak and the super soul of I Want Your Love, Chic truly were at the top of their game around the world. Along with vocalists Alfa Anderson, Norma Jean Wright and future superstar Luther Vandross , Chic was the band of choice for party people, dance clubs and radio stations all over with this brilliant album.

With star power tracks like Happy Man and the stellar instrumental fare of Savoir Faire, C'est Chic would become a staple at retail and sell over six million units during its first run at retail. Chic's importance is celebrated today as number one bands like Daft Punk have paid tribute and collaborated with the funk and dance groove master himself , Mr. Nile Rodgers.

This classic album C'est Chic has been out of print on vinyl for decades .that is until now!

Friday Music is very proud to announce The Chic Original Master Series with the first time 180 Gram Audiophile Vinyl release of C'est Chic. Mastered impeccably by Joe "Soul Man" Reagoso from the original Atlantic Records tapes, this limited edition masterpiece is a perfect record for the audiophile medium and will be a much anticipated release for this holiday season.

In addition to the wonderful grooves inside, we are also enclosing the original LP cover artwork restored faithfully to further enhance your Chic listening experience.More Chic is on the way too .Look for spectacular Chic 180 Gram Vinyl and more impeccable compact disc deluxe editions exclusively from your soulful friends at Friday Music.

Highlights From The Fun House Sessions (On Sale)

Pressed On 180g, Multi-Color Vinyl And Pressed At Record Industry

Each 2-LP Set Is Individually Numbered And Strictly Limited

Comes In A Gatefold Tip-On Stoughton Sleeve With Brand New Artwork

1970: The Complete Fun House Sessions was recorded at Elektra Sound Recorders in Los Angeles and compiled from all thirteen reels of multi-track tape that held every note and snippet of studio dialogue. Twelve reels of tape were used during the original sessions, with the thirteenth reel having the takes that would be used on the studio album.

This sprawling set which was originally aimed at the collector market would be challenging and cost prohibitive to reissue as a multi-disc vinyl box set. What is presented here is an attempt to assemble some of the best highlights from the Fun House Sessions on an officially-released 2LP set in high quality packaging with a sequence that hopefully proves to be an easier, and more casual listen.

Included are some terrific alternate versions of Down on the Street,Loose, Dirt, Funhouse, 1970 and others, pulled from session reels 1,4, 6, 7, 9 and 11 and originally recorded on May 11, 12, 15, 18, 21 and 25 of 1970. Also notable is the inclusion of the 17+ minute version of L.A. Blues,titled as Freak, which encompasses the entire fourth side of this set and is the prime example of what makes the Fun House Sessions both loved and feared.

In 2004, the first volume of Wheedle's Groove shone a light on the formerly unheralded soul scene in 1960s and '70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle's Groove series continues to present a vast chapter of the city's musical heritage that has little to do with long-haired rock dudes with guitars. No - in the world of Wheedle's Groove, platform shoes and pimp hats were the order of the day.

But unlike Volume I, Seattle's soul scene did not stop in 1975. A new volume, Wheedle's Groove Vol. II, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the '80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.

As the years unfurl in the tracks of Wheedle's Groove Volume II, so does the recent history of American music, the songs tracing technological changes and social change, and music's move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting 'Here I Go Again' on a disco-friendly 12" single.

Separated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, "A lot of the groups around town would have to incorporate that disco sound or you'd sound totally dated."

Seattle's size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of Volume I will recognize some familiar names here: Robbie Hill's Family Affair turn in the soul-jazz gem 'Don't Give Up' and Cold, Bold & Together present the undeniable vocal beauty of 'Let's Backtrack.'

The Magnificent Seven is a remake of the 1960s western film, which in turn was a remake of the 1954 Japanese classic film, Seven Samurai.

As the town Rose Krick is put under the siege of industrialist Bartholomew Bogue, the residents enlist the help of seven outlaws. Headed by bounty hunter Sam Chisolm they ought to protect them while they prepare for the anticipated violent confrontation. However, upon meeting the town's residents, the Seven find themselves fighting for much more than money.

Multiple Award Winning composer James Horner was asked to write the film's score but died on June 22, 2015. Nearly a month after his death movie director Antoine Fuqua learned that James Horner had already started working on music for the film before filming commenced. Horner's friend and score producer Simon Franglen co-composed the score after Horner's death. This score will be the final James Horner score to be released posthumously.

Songs of Rapture and Redemption: Rarities & Live (Pre-Order)

Brand New Collection Includes Demos And Live Tracks Making Their Debut On Vinyl

2x 180-Gram Colored Vinyl Pressed At Record Industry

Includes A Tip On Gatefold Stoughton Jacket

Individually Numbered And Limited To One Pressing

Born October 7, 1944, and hailing from California, JudithLynn Sill was an American singer-songwriter who learnedhow to play piano in her father's Oakland bar. She met,befriended and started opening shows for Graham Nashand David Crosby in the mid-to-late 1960s.

After a bit of interest from Atlantic Records, David Geffenoffered Judee a contract and she became the first artist tosign with his then-fledgling Asylum label. During her earlydays at Asylum, she sold her song "Lady-O" to the Turtles andwas featured on the cover of Rolling Stone. Graham Nashproduced her first single, "Jesus Was A Cross Maker," off herself-titled debut album which was released on September15, 1971 and engineered by Henry Lewy (Joni Mitchell). Thesong was inspired by her romance with singer-songwriterJD Souther, who later wrote the song "Something In theDark" about her. The album featured Sill's voice in multipleoverdubs, often in a four-part chorale or fugue. Her debutalbum was not a commercial success, despite good reviews.Sill took over orchestration and arrangements for hersecond album, Heart Food, which was released in Marchof 1973. The album was critically acclaimed but sold poorlyand ended her association with Asylum and David Geffen.

Judee continued to write songs and in 1974 began to recordnew material planned for a third album that was neverfinished. Sill continued to struggle with drug addictionand health problems, eventually dropping out of the musicscene completely. Judee tragically died of a drug overdoseon November 23, 1979, at her apartment in North Hollywood.

Sill's music was not commercially viable at the time butwas incredibly influential as well as ground-breaking andmany notable songwriters such as Andy Partridge, Liz Phair,Warren Zevon and Shawn Colvin have been fans of her work.Her songs have been covered by the Hollies, Cass Elliott,Warren Zevon, Beth Orton, Bill Callahan, Bonnie Prince Billy,Ron Sexsmith, The Fruit Bats and many more.

LP 21. The Pearl**2. The Phoenix**3. Jesus Was A Cross Maker (home demo)4. The Desperado (Outtake from the Heart Food sessions)5. The Kiss***6. Down Where The Valleys Are Low***7. The Donor***8. Soldier Of The Heart***9. The Phoenix***10. The Vigilante***11. The Pearl***12. There's A Rugged Road***

* Live at Boston Music Hall, 10/3/71** Outtake from the album Judee Sill*** Solo demo for Heart Food

Good Nature

Pressed On Colored Vinyl

Frontman Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature. Learning, he replies. This whole record is about learning. Opening your eyes to new things, going out- side of your comfort zone, and learning to grow into something new. The album's unique blend of musical and spiritual growth is immediately audible on the opening track, Super Natural, a late-summer idyll of intertwined guitar parts and laidback vocals. Listening to how the leisurely Nightlight Girl melts into a more propulsive selection like Breeze, and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are influenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. This influx of new influences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Good Nature comes from a place of calm and contentment, nurtured by looking inward.

VPI Scout 2 With Classic Signature Arm

Need help choosing the right turntable for you? Please email ouraudio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.

**All Cartridges Installed Free Of Charge**

The Scout 2 features a 1 7/8 thick aluminum platter (with a stainless steel damping plate) in place of the Scout's 1 3/8 acrylic platter.

The result of mating a great platter to a simple good looking design! In only seven years, the VPI Scout has become the industry standard as the best-reviewed turntable on the planet! For 2009, we saw fit to bring some big improvements to its best-selling turntable. You may recognize the outboard motor and the plinth, but you will do a double take at the exquisite platter and tonearm.

Every VPI Scout II comes standard with the JMW 9T! This incredible tonearm features a redesigned armtube that is tapered and filled with a proprietary damping material. This revolutionary design greatly reduces internal resonance, yielding a full and rich sound, with a vast soundstage and increased resolution and detail. The added mass also produces deeper bass response and fantastic compatibility with moving coil cartridges.

For maximum stability and speed accuracy the platter is made from 1 7/8 thick machined 6061 aluminum and is attached to a nonmagnetic 303 stainless steel damping plate. The entire piece weighs in at an impressive 18 pounds! Because the aluminum is grounded to the steel, there is virtually no static buildup or sonic degradation. What's in the grooves is what comes out of your speakers.

The VPI Scout II's plinth is made from 1 1/8 thick MDF bonded to a 12 gauge steel plate giving a rigid, non-resonant plinth. The massive platter sits on chrome-hardened ball bearing held by a 60 Rockwell-hardened shaft, below which is a black delrin nut.

The VPI Scout II generates absolutely no additional noise for a pristinely quiet spin. The AC synchronous motor is contained in a separate steel housing and drives the platter via an Aries belt. This combination produces quiet yet stable running with extremely accurate speed. Speeds are 33 and 45 standard, while 78 is optional.

Murder On The Orient Express Soundtrack (Pre-Order)

What starts out as a lavish train ride through Europe quickly unfolds into one of the most stylish, suspenseful and thrilling mysteries ever told. From the novel by best-selling author Agatha Christie, Murder on the Orient Express tells the tale of thirteen strangers stranded on a train, where everyone's a suspect.

One man must race against time to solve the puzzle before the murderer strikes again. Kenneth Branagh directs and leads an all-star cast including PenÉlope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Michelle Pfeiffer, Daisy Ridley and Josh Gad.

The score is composed by multiple award winner Patrick Doyle. (Donnie Brasco, Thor, Harry Potter and the Goblet of Fire)

The 2 LP set of Murder on the Orient Express is pressed on blue vinyl This limited edition of 750 individually numbered copies contains a 6-panel booklet with exclusive pictures and liner notes on one side and a poster, the image of the train, on the other side. Look out for secret inscriptions in the run-out groove; clues are everywhere

Tougher Than Leather

Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP.

By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl, and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] - get lost in their crates.

For starters, the album's first single, "Run's House" b/w "Beats To The Rhyme" is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called "turntablism" a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.

The second single, "Mary, Mary," driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like "Walk This Way," the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. "Papa Crazy," driven in concept and by a sample from the Temptations' "Papa Was A Rolling Stone," followed a similar pop-leaning path.

Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like "Radio Station," they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. "Tougher Than Leather" reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And "They Call Us Run-DMC" and "Soul To Rock And Roll" both bring things back to their early days, with sure-fire park jam rhymes and killer cuts.

Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl, and Jay!

1. Run's House 2. Mary, Mary 3. They Call Us Run DMC 4. Beats To The Rhyme 5. Radio Station 6. Papa Crazy 7. Tougher Than Leather 8. I'm Not Going Out Like That 9. How'd Ya Do It Dee10. Miss Elaine 11. Soul To Rock And Roll 12. Ragtime

Let 'Em Roll

During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they'd like to see make the list. This album is one of five new reissues that were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations.

In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date.

What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's The Turnaround, which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs.

Also notable are Patton's own tunes, the most beautiful of which is Latona, a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out.

This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.

Superior Catholic Finger

Import

Starting with a random snippet of evangelist preaching isn't necessarily the newest of touches in music, but putting it at the beginning of a track called Monster Lust has its own appeal. Creed's second solo album was his conscious return to the more zoned-and-stoned style of Chrome, though given how there was a fair amount of that on X-Rated Fairy Tales it would be more accurate to say that on Finger Creed just decided to let everything run riot. Tempos are often more stretched out than before, effects are tweaked and then tweaked again; in short, it's everything that a lot of rock music both mainstream and underground in 1988 was generally avoiding. With new drummer Ted Preuss helping out with returning bassist Duran, Creed leads his merry men into another fantastic bout of aggro-death-science-fiction snarl. Creed's low, vicious voice perfectly suits his abrasive feedback and more, while the rhythm section can both pound out things in a metal-punk style or just go with the flow. Who Cares is one of the best in the latter vein, with heavily flanged drums mixing with the simple but effective basslines as Creed goes off with both guitar and distorted vocals. Thick blasts of feedback that fill up the mix in both rhythm and soloing often remain the way of things for Creed; Too Bad, with its quick, almost punky verses, is a great example of him at his most crazed. The title track is one of Creed's best, a slow-and-low number with another great taking-off-to-Mars solo from the band and some disturbing rumbles down deep in the bass. Sometimes things maybe get a bit lost along the way -- The Cookie Jar descends into some aimless bits before picking up the groove again -- but otherwise Creed once again is flying high.

Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI

True to the title of the record's smash single, INXS gives you what you need on Listen Like Thieves. Originally released in 1985, the breakthrough album marked the group's deserved entrance into the mainstream radio sphere and commercial charts. With its sound honed from prior records, INXS develops an enviably balanced combination of dance grooves, bluesy persuasion, acoustic framing, and pop bluster on this batch of supremely catchy fare, equally memorable for its melodic nature and stylistic fusion.

Working with producer Chris Thomas (John Cale, Pete Townshend, Roxy Music), INXS expands its versatility and reach. Vocalist Michael Hutchence, too, comes into his own, singing more confidently, soulfully, and warmly than in the past. While avoiding cheap imitation, the Aussies turn to the Rolling Stones as influences, churning out thick riffs and slithering rhythms that aim for the hips and stimulate the feet. Hutchence splits the difference between the sexual bravado of Mick Jagger and primal depth of Jim Morrison, and in doing so, establishes himself as an original who's always careful not to overdo anything or overstay his welcome.

Bolstered by a series of can't-miss singles-the swaggeringly funky "What You Need," sharp thrust of "Listen Like Thieves," and wistful "Kiss the Dirt"-Listen Like Thieves teems with glorious hooks and intertwining instrumentation that cross-pollinates jazz, R&B, new-wave, and pub rock. Honking saxophone lines surge throughout, punctuating the spare chords and driving bridges with an insouciant edge missing from most of the decade's pop. A knack for atmospheric production also plays a large role. On "Shine Like It Does," a majestic moodiness takes hold, while "This Time" gives U2 a run for its money.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, Silver Series' numbered limited edition LP significantly enhances the midband, textural qualities, and ample spaciousness-all previously boxed-in on prior editions. The character of the bass notes, as well as the depth and breathiness of the vocals are also noticeably improved, bringing out the music's personality and dynamics like never before.

This title is not eligible for discount.

1. What You Need2. Listen Like Thieves3. Kiss the Dirt (Falling Down the Mountain)4. Shine Like It Does5. Good & Bad Times6. Biting Bullets7. This Time8. Three Sisters9. Same Direction10. One X One11. Red Red Sun

Call It What It Is

Ben Harper & The Innocent Criminals have reunited for Call It What It Is, their first record together in nine years.

Call It What It Is is an incisive, bold, poetic statement that could only come from these long-time musical partners, one of popular music's most essential, cohesive and dynamic ensembles. The standout title track showcases Harper's unmatched ability to blend the personal and political. Invoking the names of Trayvon Martin, Ezell Ford, and Michael Brown over an agitated blues riff, Harper cuts to the quick: "There's good cops / bad cops / white cops / black cops / call it what it is / Murder." The genre-spanning collection contains many highlights including the sun-kissed groove of Shine and the album's swaggering lead track When Sex Was Dirty.

It had been seven years since Ben Harper last played a show with the Innocent Criminals, so when the time came to reunite for a live tour in 2015, the band-percussionist Leon Mobley, bassist Juan Nelson, drummer Oliver Charles, keyboardist Jason Yates, and guitarist Michael Ward-quickly discovered that Harper had more in mind than simply revisiting the group's prodigious song catalogue. In fact, Harper had been quietly amassing material for a new record and the first recording sessions were scheduled to begin even before the rehearsals for their triumphant four-night sold-out reunion run at the Fillmore in San Francisco last March.

"I thought we would be more energized and revitalized by thinking outside the box and starting with new material in the studio before we dug into the old stuff," said Harper of the reunion album. "It was meant to be a signpost that we're here to forge new ground musically and personally."

Pure McCartney (Box Set)

Pure McCartney, a new compilation of his solo, Wings and Fireman work, celebrates that fact, showcasing 67 highlights from one of the most-revered catalogues in music - from 'McCartney' in 1970, his debut solo album, right through to 'Hope For The Future', his 2014 track taken from 'Destiny', the most-anticipated video game of the last decade. Not only is 'Pure McCartney' a monumental mix tape of some of popular music's most memorable moments from 1970 to the present day, it also features curios for the super fans and some of Paul's personal favourites-all handpicked by the man himself.

Me and my team came up with the idea of putting together a collection of my recordings with nothing else in mind other than having something fun to listen to, Paul says of this project.

Maybe it's to be enjoyed on a long car journey or an evening at home or at a party with friends? So we got our heads together and came up with these diverse playlists from various periods of my long and winding career."

As a songwriter Paul has never stood still, dipping his toe in countless genres and styles. 'Pure McCartney' is testament to that fact. From the song writing master class of 'Maybe I'm Amazed' and adventurous, three-songs-in-one of 'Band On The Run' to the irresistible groove of 'Say Say Say' and ahead-of-its-time electronica of 'Temporary Secretary', described by NME when compiling a list of the greatest ever songs as not so much ahead of its time, but out of it altogether", 'Pure McCartney' charts the unstoppable adventures of McCartney's unique and eclectic song writing talents and shines a light on his post-Beatles artistic achievements.

The word 'career' is a bit misleading because to me it has been more like a musical adventure than a proper job, says Paul, reflecting on the 'Pure McCartney' tracklisting. It pleases me, and often amazes me, that I've been involved in the writing and recording of so many songs, each of them so different from the others.

Paul's unparalleled career has seen his music break global chart records, win countless awards, fill stadiums around the world and become the soundtrack to millions of people's lives across generations.

LP 11. Maybe I'm Amazed2. Heart Of The Country3. Jet4. Warm And Beautiful5. Listen To What The Man Said6. Dear Boy7. Silly Love Songs8. The Song We Were Singing9. Uncle Albert / Admiral Halsey10. Another Day11. New

The California-based band's fourth Brushfire Records release showcases their unfettered passion, wit, and imagination while simultaneously exploring hitherto uncharted musical terrain. Invigorated by an unstructured approach to the studio process, ALO have accessed new avenues of resourcefulness, resulting in a truly distinctive collection of songs that adroitly captures all the glorious ingenuity and adventure of the band's legendary live sets.

In April of 2011, ALO convened at San Francisco's Mission Bells studio with no plans other than to make some music together. With studio owner/longtime collaborator David Simon-Baker assisting behind the board, the band opted to take the same improvisational tack towards recording as they do on stage. Any distinctions between pre-production and real recording would be shed, allowing for ALO's instinctive spontaneity to make it to track.

ALO let their imagination run free, both musically and lyrically, resulting in such larger-than-life highlights as the Old West flight of fancy, "Cowboys and Chorus Girls," the self-explanatory glitterball workout, "Room For Bloomin" and at the heart of the album, the raucous reverie for days past, "Blew Out The Walls. Where prior albums featured songs penned individually and then arranged by the band, this time out, ALO were determined that their collective spirit inform every groove.

LP11. Dead Still Dance2. Blew Out the Walls3. Falling Dominoes4. Speed of Dreams5. Storms and Hurricanes

Spitballin'

The DAVE STEWART-produced SPITBALLIN' would never have happened if not for one Twitter message that turned STEWART's world upside down. STEWART has seen and done it all, but none of it prepared him for what he would hear from THOMAS LINDSEY. "I read it and clicked on the link," STEWART recalls. "And there he was, singing something on a YouTube video. I don't remember what it was but there was no music. He was singing a cappella. And I went, 'Holy crap!'" STEWART got in touch with his young admirer and invited him to send examples of his original material.

"It was really amazing stuff. So I asked if he wanted to come out to Los Angeles and sing three songs unaccompanied before my show at the Troubadour," STEWART says. Following their live debut, STEWART and LINDSEY began writing together by sending audio files back and forth between L.A. and Louisiana. Working long distance seemed to bring them closer as they built a catalog of songs.

Their common ground proved as lush as Delta marshland. A down-and-dirty delta guitar riff. A thumping drum beat. And a stunning vocal intro, urgent, haunted, earthy and spiritual, with blues-drenched filigrees, a vibrato that shocks like an electric current, a range that defies not just convention but gravity itself. Backed by STEWART's distorted voodoo guitar licks, LINDSEY opens "Leave This Town" in free tempo and then a swampy groove kicks in--just guitar and drums, raw and wild. "Two People" unfolds over a stomping beat that leads to a long vamp over which Lindsey improvises with hair-raising intensity and finesse. Churchy echoes permeate "When Dogs Run," with a mournful organ providing the backdrop to STEWART's Pop Staples-style guitar tremolo. "Alcohol" boils down to organ and LINDSEY's voice recounting a riveting elegy for someone who was "lost to alcohol."

Some of the stories behind the lyrics on these songs are sad, but true and some more fanciful. To write "Crocodile," for instance, LINDSEY admits "I tried to write a song that would seem like something from a shoe commercial! I had this image of a woman in bad-ass crocodile boots, walking down the street. That's how that song formed."

1. Leave This Town2. Another Lie3. Friend Zone4. Lonely5. When Dogs Run Away6. Look at Those Flames7. Two People8. Run From You9. Confidence10. Crocodile11. Alcohol12. Dear God

Sound Of Change

The Sound of Change can't come from external forces, it has to emanate from within. For Dirty Heads, evolution beyond their reggae-rock roots has developed over time and is manifested on their new album "Sound of Change." Due out summer 2014 via Five Seven Music, the album boasts some of the groups' most diverse and ambitious work to date. "Sound of Change" takes a literal meaning with the production of this album, as the band links up with Grammy award winning producer Supa Dups (Nina Sky, Bruno Mars), Buddah Shampoo (Ty Dolla $ign), Niles (of hip hop duo, The Cataracs), Ward 21 (311, Major Lazer reggae collaborators) and long-time friend and collaborator, Rome (Sublime).

The feel-good vibe associated with their sound was not forgotten. Sonically, "Sound of Change" amps up the groundwork laid by previous albums. Fine-tuned alternative choruses work harmoniously with hip-hop influenced production that seams the songs together. Universal themes of compassion, reflection and happiness are at the core of "Sound of Change." "We wanted the songs on this album to touch on the things we deeply care about and the people we are inside" front man Jared (Dirty J) Watson asserts, "but then we want to address the other side - when the weekend comes and we need to let go and just rage." Who can't relate to that feeling?

Vocalist/Guitarist Dustin Bushnell (Duddy B) is constantly looking to connect the dots between the live show with the album tracks, often mentally mapping out the live elements as the songs are being recorded. For the touring cycle surrounding the release "Sound of Change" the band plans to bring a live show that will energetically compliment each new track. Dirty Heads have racked up their miles bringing that live experience to fans across the globe for over a decade. "Now that our lives are touring we get to see the world," both Watson and Bushnell agree, "we're taking stories and vibes from around the world and making this album is the culmination of that."

The band's breakout 2008 album "Any Port In The Storm" included the chart-topping hit track "Lay Me Down" which features current Sublime frontman, Rome. The track had an incredible run for eleven weeks at #1 on the Billboard charts, laying a solid foundation for their follow up sophomore album "Cabin By The Sea" which was released in 2012. Dirty Heads then began their musical metamorphosis with their 2013 acoustic album "Home - Phantoms Of Summer," allowing time for their metamorphosis embodied in "Sound of Change." Their previous work featured contributions from talent such as Del The Funky Homosapien, Matisyahu, Rome (Sublime) and guitar legend Slash.

"Sound of Change" is a melting pot of all the band members' experiences and musical persuasions, addressing both serious and lighthearted subject matter in their signature way. On the lighter side of the spectrum, "Burn Slow" (Produced by Rome, featuring rapper, Tech N9ne) showcases the hip-hop oriented side of the band. With anthemic choruses and a feel-good aura, Watson boasts the song is the perfect soundtrack for those times when you're "having a good time, going out with friends and realize that sometimes you just need to chill." The retro sound and sexy lyrics of "Hear You Comin," highlights Watson's soaring vocals in its hook. The first single, the metaphorical "My Sweet Summer" (produced by Niles from The Cataracs) is, in reality, a song for all seasons. An undeniable groove underlines the lyrical lament. The title track "Sound of Change" is the key manifestation of the artistic maturation of the band. "The world is always changing political and social outlooks and on a broader scale, look at the changes within yourself" Watson reflects, "the song is about embracing the change life is going to bring no matter what, because that change is inevitable." Though there is diversity on "Sound of Change," as a body of work, it is cohesive in a way only Dirty Heads can achieve.

As a full six-piece unit, frontmen Watson and Bushnell are joined by keyboardist/vocalist Shawn Hagood, percussionist Jon Olazabal, drummer Matt Ochoa and bassist David Foral. This lineup is hell-bent on grabbing new ears with "Sound of Change." Their own journey can be heard within the album- all you have to do is sit back and listen.

Justus

First time 180 Gram Audiophile Vinyl Release... Their final work together... captured in the audiophile domain... only from your friends at Friday Music... It Looks Like We've Made It Once Again!

The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories ever in the music business.

In 1996, after a thirty year hiatus as a quartet, the original Monkees Davy Jones, Michael Nesmith, Micky Dolenz and Peter Tork went back to the studio and recorded what would ultimately be their final studio project, the Justus album. Noted for their return to the studio and touring around the legendary release, this final work also found The Monkees as the sole musicians, vocalists, writers and production team for all of the tracks assembled for the recording. The results truly showed one of the more organically produced albums ever from their superstar catalog of fine recordings.Originally an idea spearheaded by Michael Nesmith, the Justus album was conceptual in nature almost mirroring the original idea behind their classic Headquarters album, which like Justus, showcased these four musical talents as a team and offered no single track to radio but instead a full musical album listening experience.

Opening up with a new take on Circle Sky, Michael Nesmith is on top of his game with this metal-like rocker originally from Head. Featuring a wall of loud guitars, retro lyrics and chorus, this classic track was performed at the reunion concerts around this album, and once again reemphasized the importance of the original quartet setting, making this a great intro track.

Davy Jones belts out one of his finest compositions with the uptempo groove of Oh, What A Night. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites.Micky Dolenz and Davy Jones repeat the magic with their revisit of You And I from their Dolenz, Jones, Boyce & Hart era. Featuring a strong vocal performance by the duo and the stunning guitar work of both Monkees' Peter Tork and Michael Nesmith, this track truly captures the innocence and the feel of their sixties sound, as it became a time tested track well into their final tour of 2011.

Much like their Instant Replay (FRM 113) album, Micky Dolenz contributes a good helping of original compositions to the Justus project. Either rockers like Dyin' Of A Broken Heart, the blues balladry of It's My Life, or the Rolling Stones vibe of Regional Girl, the Justus album was a watershed for Dolenz's writings and vocal prowess which truly makes this 1996 session a true winner.

Peter Tork was always one of the more intriguing writers and musicians of the band, and it is fitting that the more progressive sounds would derive from his pen with the classic I Believe You as well as his fine prog-rock track Run Away From Life featuring the powerful vocals of Davy Jones.The late great Davy Jones gets the honor of closing out this wonderful album with his classic ballad It's Not Too Late. With his stunning vocal and heartfelt lyrics, and the brilliant chorus from the his Monkees brethren, the song in itself is a fitting tribute to these four geniuses, as the legacy of this superstar band will forever stand the test of time.

Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the first time vinyl album release of their 1996 masterwork Justus. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Rhino Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition clear vinyl as well as a first time gatefold cover presentation.

1.Circle Sky2.Never Enough3.Oh, What A Night4.You And I5.Unlucky Stars6.Admiral Mike7.Dyin' Of A Broken Heart8.Regional Girl9.Run Away From Life10.I Believe You11.It's My Life12.It's Not Too Late

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